and as all three then collapse on their sofas in hysterical recognition, they seem extreme images of the triumph of the other that Sartre had declared to be the meaning of death” (Whitaker 169). Whitaker explains to the readers of his book and No Exit, “But we must nevertheless admit that precisely when Garcin says, ‘well, well, let’s get on with it’, the curtains must close upon this hell” (Whitaker 177). In this quote, He is stating that Garcin is finally ready to accept complete death and no longer live in hell.
Sartre uses MAN vs. SELF in many ways to put mainly Garcin in hell, but he also uses that on Estelle and Inez as well. In this quote by Guicharnaud, “Garcin’s hopeless tragedy lies in the fact that he is unable to determine
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What the previous statement means, is that a reader can take that quote two different ways. One is that since each character needs one another,it would be MAN vs. MAN, but in reality a person does not need one other person making it all in their heads giving the reader the MAN vs SELF. In the play, Inez realizes what is happening when she says “Ah, that’s the way it works, is it? Torture by separation” (Sartre 8). Inez in that quote is realizing that she is not in literal hell but she is in a variation of hell and the “torturing” that happens from the “devil”. When someone thinks in their head that they need another person that can put them in hell, as stated here by Méra, “Which means that if my relations are bad, I am situating myself in a total dependence on someone else. And then I am indeed in hell” (Méra 14). Whitaker expresses in this quote, “Estelle, a narcissist who complaining that she has no sense of existing unless provided with some visible self-reflection, depends on the mirroring gaze of others to make her seem a valued object”, that in her mind she needs to see herself to believe that she has a sense of existing (Whitaker 170). Why does a person need to see him/herself to believe that s/he has a sense of existing in life? Sartre makes the three characters live their life in hell with what happened in their past as said in this quote by Barnes, “What I am is what I have done at …show more content…
The third version/style of hell that the characters are being put in is MAN vs OTHER MANS THOUGHTS, which is basically letting other people think about how a person run their life. In this quote by Méra, ”They are ‘naked as new-born babies’ and must suffer to be seen by the others as they really are” , She is saying that a person has to show others who they truly are and cannot put on ‘make-up’ and show them what they want to see (Méra 15). For example, if a person is a murderer, they will have to show people that they are a murderer and cannot hide that with ‘make-up’ and show them that they are some innocent person just because they do not want to deal with the consequences. In this quote by Guicharnaud, ”The acts are in the past and the characters try to evaluate them, emphasis is not put on discovering why, through what determinism of the world and men, the characters happened to commit their crimes”, Guicharnaud is explaining that the characters have to live with their choices and deal with the consequences of their choices just like the last quote from Méra (Guicharnaud 63). Garcin, Estelle, and Inez all
Seated in his fire-filled chair, the devil dominates the bottom-center of the painting. With the very dark lighting the mood towards this half of the painting is dark, gloomy, lonely, and unpleasing. Frankcen illustrates the true biblical message of hell. What is very interesting about this painting is how hell is extremely large, filled with a mass of people, and takes up about half of the painting. However, some of the people are babies. This alludes to the fact that some people are could possibly be born evil and that their fate is inevitable. A majority of the people set in hell are still looking up worshiping heaven while regretting their mistakes. The painter is trying to illustrate how many people do not make the right choices and end up miserable. The way Fans paints hell in this picture is very similar to the way Dante describes hell in this book The Inferno. Even though there are not nine layers of hell in this painting the descriptions are quite similar. The people standing in line waiting for their punishments, the dark gloomy vibe, and a mixture of young and old souls, are represented in the painting and in Dante’s story (1614-1702). Francken’s goal when interpreting hell is to not only make his viewers fear it, but come to the realization that is where a majority of people end
While coming to terms with the absurd was a gradual process for Meursault, his final days and his heated conversation with the chaplain, and his desire for a hateful crowd of spectators show that he was able to accept the absurdity, and revel in it, finding satisfaction in spite of those around him and justifying his murder. His ego had reached an all-time high as he neared his execution, and his satisfaction left him prepared for the nothingness awaiting him. This process was a natural psychological response to his mortality, for his peace of mind. Therefore, Meursault is not the Stranger, an alien to society, but a troubled man seeking meaning and satisfaction in a life and a world that was overwhelming unsatisfactory and absurd.
...me what his actions of made of it. Another example of existence preceding essence, Hell to him on Earth was an intricate visual of torture with no inherent meaning to him. Hell to Garcin now is the struggle to accept his fate. However, at the play’s end, he is ready to move on, just like Hamlet.
...nouille obtains the love he never had at his moment of death, yet could not experience it as everyone devoured him into non-existence. Grenouille proved himself a monster as he was in seven years of solitude, saw himself as God, and killed himself, leaving his life in vain.
“I don't want to survive. I want to live.” This fairly popular quote can also serve as a summary of Gabriel Conroy’s character in James Joyce’s short story “The Dead." As we read, we see the toll that monotony has taken on Gabriel and, by the end, he sees it as well. This realization is coupled with another, much darker, realization: the inevitability of death. We see signs of these ideas sprinkled throughout the story, from the predictability of the guests to Gabriel’s constant anxiety when talking to the other guests and his long for an escape. These occurrences come to a head when, upon reaching their hotel, Gabriel’s wife Gretta tells him of the boy who didn’t want to live without her, and who died to see her. This story leaves Gabriel with a sudden understanding of love, life, and death, that changes his way of thinking about everyone, including himself.
“No Exit,” by Jean-Paul Sartre, is a play that illustrates three people’s transitions from wanting to be alone in Hell to needing the omnipresent “other” constantly by their sides. As the story progresses, the characters’ identities become more and more permanent and unchangeable. Soon Inez, Garcin, and Estelle live in the hope that they will obtain the other’s acceptance. These three characters cannot accept their existentialist condition: they are alone in their emotions, thoughts and fears. Consequently, they look to other people to give their past lives and present deaths meaning. Forever trapped in Hell, they are condemned to seek the other for meaning in their lives; even when given the chance to exit the room, the characters choose to stay with each other instead of facing uncertainty and the possibility of being detached from the stability of their relationships with the others. Without other people, the characters would have no reason to exist. Each characters’ significance depends on the other’s opinion of them; Garcin needs someone to deny his cowardliness, Inez yearns for Estelle’s love, and Estelle just wants passion with no commitment. This triangle of unending want, anguish and continual disillusionment because of the other is precisely Sartre’s definition of pure Hell.
Dante Alighieri presents a vivid and awakening view of the depths of Hell in the first book of his Divine Comedy, the Inferno. The reader is allowed to contemplate the state of his own soul as Dante "visits" and views the state of the souls of those eternally assigned to Hell's hallows. While any one of the cantos written in Inferno will offer an excellent description of the suffering and justice of hell, Canto V offers a poignant view of the assignment of punishment based on the committed sin. Through this close reading, we will examine three distinct areas of Dante's hell: the geography and punishment the sinner is restricted to, the character of the sinner, and the "fairness" or justice of the punishment in relation to the sin. Dante's Inferno is an ordered and descriptive journey that allows the reader the chance to see his own shortcomings in the sinners presented in the text.
... mother, he does not react in a way most people do. He does not cry but instead accepts what has happened and realizes that he can not change it. He goes back and does physical things he would do on a normal day. When the caretaker offers him coffee, he accepts it, he smokes a cigarette and has sex with a woman he just met. Meursault also does not lie to escape death. He refuses to conform to society and lie. He would rather be seen as an outsider than do something that he does not believe in. Finally, Meursault, will not believe in G-d or Christianity just because it is the only thing to turn to before he is put to death. When Meursault decides not to cry at his mother’s funeral, he accepts himself as an outsider. When he is considered an outsider, it does not matter if he is guilty or innocent; at the end of the day he guilty just for being different.
He gives reason to fear and respect the law of God, lest eternal punishment be your only promise in the afterlife. These punishments are as relevant as can be, so he offers a very vivid picture of hell. The men that he puts in hell give it a realistic twist, enhancing the fear that is felt upon reading this work.
...e’s theory relies upon his belief that because there is no creator, human beings have no essence, and so they are “left alone, without excuse” and “born without reason.” He says that people realize this “the moment you lose the illusion of being eternal.” Similarly, White too admits to Black that he has always hated life and that when he realized that religion was just a “guise,” his hatred turned into boredom (138). White’s skepticism about life and God echoes throughout the play and through the suicidal choice that White makes even before the dialogue begins. Comparably, Father Vincent Minceli voices similar concerns about Sartre, concluding that Sartre’s philosophy leads directly to despair and suicide. McCarthy’s comparison of White and Sartre is remarkable, as both are not only atheists, but also convey life’s useless nature through using synonymous phrases.
...according to him, a man who is morally guilty of killing his mother severs himself from society in the same way as a man who raises a murderous hand against the father who begat him.” This quote is telling how society input their feelings and ideas onto Meursault. The persecutor compares Meursault emotionless and lack on remorse for his killing the same as a person killing their own father. Society believes Meursault as an emotionless killer or a stranger to society’s morality, Meursault then can’t explain why he couldn’t feel any emotion, drives, or thoughts of remorse for his murder. Lastly, when the chaplain visits Meursault against his wishes, this scene showed how society expects everyone to ask for forgiveness from god when near death. Meursault then thinks it is absurd and refused to believe in him because he says it’s ridiculous and there’s no time at all.
These two quotes go together because first she is asking to be filled with the darkness of hell and then says later in the play that hell is murky. These two quotes show that she had asked to be filled with hell and then later after committing these sinful actions she describes hell as being dark and unclear.
Set in Hell, the vision of the underworld is nothing the characters imagined as they are escorted to a Second Empire styled hotel. This is all ironic, in the fact that Sartre never believed in perdition. He uses this fictitious place to persuade his audience. Hell is used as a foundation to prove his point. The characters, Garcin, Inez, and Estelle, are all brought together by some kind of complicated design that they try to unveil. Each character has a story and a reason for their damnation, but what they look for is an answer for their presence with each other. Garcin, a journalist and pacifist that took 12 to the chest, was the first to attempt to mend matters in the room. His idea to be courteous to one another is later contradicted when he begins to fight with Inez. Estelle, a self-absorbed instigator, appears to suffer from denial.
Dante’s Inferno presents the reader with many questions and thought provoking dialogue to interpret. These crossroads provide points of contemplation and thought. Dante’s graphic depiction of hell and its eternal punishment is filled with imagery and allegorical meanings. Examining one of these cruxes of why there is a rift in the pits of hell, can lead the reader to interpret why Dante used the language he did to relate the Idea of a Just and perfect punishment by God.
Jean-Paul Sartre says "man is nothing else but what he makes of himself" (762). This existentialist view depicts the idea that one is not based on the essence of a soul, but rather, based on decisions made throughout life. Sartre also believes that every man is responsible for all men. One may choose his marriage partner, however, in choosing to marry, one chooses monogamy. Decisions that individuals make will collectively create a set of principles and beliefs for all of man.